Synopsis

Professor David Pollock is an expert in ancient Arabic hieroglyphics. A Middle Eastern Prime Minister convinces Pollock to infiltrate the organization of a man named Beshraavi, who is involved in a plot against the Prime Minister. The nature of the plot is believed to be found in a hieroglyphic code. Beshraavi's mistress, Yasmin Azir is a mystery intertwined in the plot. Pollock needs her help, but when she repeatedly seems to double cross him in one escapade after another, he can't decide on whose side she is working. Ultimately working together, Pollock and Yasmin decipher the plot and set out to stop an assassination of the Prime Minister.

Professor David Pollock is an expert in ancient Arabic hieroglyphics. A Middle Eastern Prime Minister convinces Pollock to infiltrate the organization of a man named Beshraavi, who is involved in a plot against the Prime Minister. The nature of the plot is believed to be found in a hieroglyphic code. Beshraavi's mistress, Yasmin Azir is a mystery intertwined in the plot. Pollock needs her help, but when she repeatedly seems to double cross him in one escapade after another, he can't decide on whose side she is working. Ultimately working together, Pollock and Yasmin decipher the plot and set out to stop an assassination of the Prime Minister.

Tech specs

Movie Reviews

Reviewed by Dorian Tenore-Bartilucci (dtb) 9 / 10

A Little Hitchcock Style, A Little James Bond Style, A Lot of Fun!

ARABESQUE is another fab Universal romantic thriller in the grand
CHARADE tradition, including some of the same personnel! If director
Stanley Donen's classic 1963 comedy-thriller CHARADE is Hitchcock Lite,
then ARABESQUE is Hitchcock Lite after taking a few classes in James
Bond 101 (including an opening title sequence by Maurice Binder, who
also did the honors for CHARADE as well as for most of the Bond
movies). As the hieroglyphics expert embroiled in Middle Eastern
intrigue while decoding the cipher everyone's after, the usual slightly
wooden note in Gregory Peck's delivery is oddly effective as he tries
to loosen up and deliver Cary Grant-like witticisms (from co-scripter
"Pierre Marton," a.k.a. CHARADE alumnus Peter Stone). Peck may not be
Mr. Glib, but he's so inherently likable and seems so delighted to get
an opportunity to deliver bon mots after all his serious roles that
he's downright endearing, like a child trying out new words for the
first time. And co-star Sophia Loren, at her most alluring as an Arab
femme fatale, can make any guy look suave and sexy! Alan Badel, looking
like a polished Peter Sellers in cool shades, virtually steals his
scenes as the suave-bordering-on-unctuous villain with a foot fetish.
Shoe lovers will swoon over the scene with Badel fitting the lovely
Loren with a roomful of fancy footwear. Speaking of things of beauty,
Christopher Challis's dazzling, inventive cinematography won the BAFTA
(the British equivalent of the Oscars), and Christian Dior got a BAFTA
nomination for Loren's elegant costumes. Suspenseful and sparkling as
this twist-filled adventure is, ARABESQUE's biggest mystery is why it's
still only available in VHS format. If this gem ever gets deluxe
treatment as a DVD (including letterboxing, please!), I sure hope they
get Donen and Loren together to do the kind of entertaining,
informative commentary that Donen did with the late, great Stone for
Criterion's CHARADE DVD. In the meantime, ARABESQUE turns up on
American Movie Classics and Turner Classic Movies periodically, so
check your TV listings -- this fun thriller is worth seeking out!
UPDATE FOR 2012: ARABESQUE is now available from Universal in a six-DVD
Gregory Peck collectors' set, along with MIRAGE, CAPE FEAR, TO KILL A
MOCKINGBIRD, CAPTAIN NEWMAN, M.D., and THE WORLD IN HIS ARMS!

As has been duly noted before, "Arabesque" is essentially an update of Stanley Donen's own "Charade." This time, however, the plot twists are more convoluted, the camerwork is decidedly more "mod" (shooting through chandeliers, reflections in sunglass lenses, etc.) and there is an even greater emphasis on the female star's wardrobe. If the story is more confusing and less compelling than "Charade," it certainly isn't at the expense of entertainment. Its derivative nature (it not only incorporates parts of "Charade," but also the drunk and cropdusting scenes from "North by Northwest") prevents "Arabesque" from entering the elevated realm of its predecessor, but it's a delight, nevertheless. Its strongest selling point, really, is the utterly delectable Sophia Loren as Yasmin, the side-switching enigma. It is a strong statement to declare that the glorious Miss Loren has never appeared more beautiful, before or since, than in this film--but I'm willing to take the risk. Her huge, almond, almost Egyptian eyes; tawny, caramel-colored skin; lustrous hair; and world-famous curves have never been seen to better advantage. (Her stunning Christian Dior costumes certainly add to her already formidable allure.) She also displays a very nice light comedic touch; it wouldn't be difficult to dislike someone so supernaturally gorgeous, but instead, Loren's natural warmth and humor shine through. Gregory Peck, on the other hand, looks more than a little ragged around the edges; Cary Grant obviously didn't lend Peck any of his age-defying secrets. His performance isn't nearly as bad or hammy as some other reviews have indicated, but where Loren's charisma and beauty aid her in creating a completely different character than Audrey Hepburn's in "Charade," Peck comes off as an unfortunately blurred carbon coby of Grant in that earlier film. Having said that, "Arabesque" still stands on its own merits as a cracking good comedy-thriller; the final few scenes are terrifically suspenseful. Alan Badel makes a wonderfully oily villain (love the shades!), and Kieron Moore adds a healthy shot of dated humor as a jive-talking Arabian (!). Although the twists and turns might be confusing for some, just sit back and bask in the glory that is Sophia Loren. You know the good guys will win in the end, anyway.